{"title":"New Releases","description":"","products":[{"product_id":"heartworn-highways-original-motion-picture-soundtrack","title":"Original Soundtrack - Standard Edition","description":"\u003cp\u003e[[Release Detail]]\u003cmeta charset=\"utf-8\"\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003eSometimes, a documentary maker is present at precisely the right moment to capture lightning in a bottle. It happened with essential punk doc \u003cem\u003eThe Decline of Western Civilization\u003c\/em\u003e, it happened with Dylan’s \u003cem\u003eDon’t Look Back\u003c\/em\u003e and Chet Baker’s \u003cem\u003eLet’s Get Lost\u003c\/em\u003e, and it happened with 1976’s \u003cem\u003eHeartworn Highways\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eThe iconic performance documentary saw filmmaker James Szalapski travel to Texas and Tennessee to capture the radical country artists reclaiming the genre via an appreciation for its heritage in folk and bluegrass and a rejection of the mainstream Nashville machine. Townes Van Zandt, Guy Clark, Steve Young, David Allan Coe, Steve Earle and many others appeared on both screen and soundtrack, where musical highlights include Clark’s brilliant “Desperados Waiting For A Train”, Young’s stirring “Alabama Highways” and Van Zandt’s emotional “Waiting Around To Die”.\u003c\/p\u003e\n\u003cp\u003eThe hard living – and hard partying – lifestyles of outlaw country’s figureheads are played out on screen as we visit Van Zandt’s Austin trailer, see Coe play in Tennessee State Prison, join the gang in Nashville’s notorious Wig Wam Tavern and witness a liquor-fuelled Christmas at Clark’s house. No wonder the film’s original tagline read: “The best music and the best whiskey come from the same part of the country”.\u003c\/p\u003e\n\u003cp\u003eOutside of a couple festival screenings, the movie remained unreleased for five years after its completion, finally hitting screens in 1981 and finding a cult audience ever since.\u003c\/p\u003e\n\u003cp\u003eFirst released in 2006 by Hacktone Records, we are proud to re-release the film’s stunning soundtrack on double vinyl and CD.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e20 page booklet with essay by Sam Sweet interviewing artists and documentary creators and crew\u003c\/li\u003e\n\u003cli\u003eProduced for rerelease by David Gorman, Patrick McCarthy, Michael Nieves, Matt Sullivan, and Sam Sweet\u003cbr\u003e\u003cbr\u003eSpecial thanks to David Gorman \u0026amp; Michael Nieves at Hacktone Records. 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Black","offer_id":32191877283919,"sku":"LITA146-STND","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1461257144706-gt410w2m21r59k0b-599013e8528c6c4571a71806ba5081f1_2FLITA146_AlbumCover.jpg?v=1696119855"},{"product_id":"cochin-moon","title":"Cochin Moon","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/RsD_iVrLETI\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eThe unbelievably prolific Haruomi Hosono is one of the major architects of modern Japanese pop music. With his encyclopedic knowledge of music and boundless curiosity for new sounds, Hosono is the auteur of his own idiosyncratic musical world, putting his unmistakable stamp on hundreds of recordings as an artist, session player, songwriter, and producer. Born and raised in central Tokyo, his adolescent obsession with American pop culture informed his early forays into country music, which he would revisit later in his career. Hosono made his professional debut in 1969 as a member of Apryl Fool, whose heavy psychedelia was somewhat at odds with his influences, which leaned towards the rootsy sounds of Moby Grape and Buffalo Springfield. The latter was one of the main inspirations for his next group, Happy End, whose unique blend of West Coast sounds with Japanese lyrics proved to be highly influential over the course of three albums. After the band’s amicable break up in 1973, Hosono began his solo career with \u003cem\u003eHosono House\u003c\/em\u003e, an intimate slice of Japanese Americana recorded inside a rented house with recording gear squeezed into its tiny bedroom. Hosono’s solo career would take many twists and turns from this point forward, with forays into exotica, electronic, ambient, and techno, culminating in the massive success of techno pop group Yellow Magic Orchestra (\u003cspan class=\"caps\"\u003eYMO\u003c\/span\u003e).\u003c\/p\u003e\n\u003cp\u003eReleased in September 1978, a mere two months before YMO’s debut, \u003cem\u003eCochin Moon\u003c\/em\u003e is a clear precursor to the groundbreaking synth and sequencer-dominated sounds that would come to define the iconic trio. Credited to Hosono and Pop Art legend Tadanori Yokoo (who created the cover art), \u003cem\u003eCochin Moon\u003c\/em\u003e is a fictional soundtrack to a journey into unknown worlds, inspired by Hosono and Yokoo’s trip to India. Initially the album was to be a kind of ethnographic musical document, using found sounds and field recordings made by Hosono himself. Instead, after Yokoo introduced Hosono to the sounds of Kraftwerk and krautrock during the trip, \u003cem\u003eCochin Moon\u003c\/em\u003e became something much stranger. Created almost entirely on synthesizers and sequencers with the help of future \u003cspan class=\"caps\"\u003eYMO\u003c\/span\u003e collaborators Ryuichi Sakamoto and Hideki Matsutake, the music on the album is the perfect encapsulation of Hosono’s concept of “sightseeing music,” transporting the listener to an exotic place that may or may not exist. This highly sought-after album sees its first-ever official release outside of Japan.\u003c\/p\u003e\n\u003cp\u003eAdmired by artists ranging from Van Dyke Parks to Mac DeMarco, Hosono continues to forge ahead as he heads into his fifth decade as a musician. With the re-release of his key albums for the first time outside of Japan, his genius will be discovered by a whole new generation of fans around the world.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eFirst ever release outside of Japan\u003c\/li\u003e\n\u003cli\u003eTranslated interview with Haruomi Hosono\u003c\/li\u003e\n\u003cli\u003eRemastered form the original analog master tapes\u003c\/li\u003e\n\u003cli\u003ePressed on Opaque Yellow Wax\u003c\/li\u003e\n\u003cli\u003e2xCD Bundle includes “Hosono House” (LITA173) \u0026amp; “Cochin Moon” (LITA174)\u003c\/li\u003e\n\u003cli\u003eProduct shots by Melissa Kagerer\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]][[Artist]]Haruomi Hosono\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"Cochin Moon \/ Haruomi Hosono - MP3\/320 \/ album \/ MP3\/320","offer_id":32191331074127,"sku":"7R\/MP3","price":9.99,"currency_code":"USD","in_stock":true},{"title":"Cochin Moon \/ Haruomi Hosono - 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2001","description":"\u003cp\u003e[[Release Detail]][[Release Description]] \u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/YSfoB3wEooI?si=TnlcCswNWdP2sdaM\" title=\"YouTube video player\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e“Acetone are into it for what they get out of it. Their music reflects who they are, and that’s so rare in music today. It’s a soul music thing.” – Jason Pierce (Spiritualized)\u003c\/p\u003e\n\u003cp\u003e“Acetone are one of my all time favorite bands. Their music is still as electrifying and beautiful now as it was back then.” – Hope Sandoval (Mazzy Star)\u003c\/p\u003e\n\u003cp\u003e“A lovely mix of what would it be like if Dick Dale and Neil Young played with Isaac Hayes and The Velvet Underground. A seminal American band.” – Richard Ashcroft (The Verve)\u003c\/p\u003e\n\u003cp\u003eThe independent literary press All Night Menu published Sam Sweet’s Hadley, Lee, Lightcap, a nonfiction novel that traces the backstories of the three members in Acetone, a band that played in Los Angeles for nine years. Though few heard them, their recordings are time capsules of who they were, how they lived, and where they came from. Light in the Attic has partnered with All Night Menu to present Acetone 1992-2001, the first anthology of the trio’s music.\u003c\/p\u003e\n\u003cp\u003eCounting their early years in the scuzz-rock band Spinout, whose sole self-titled release came out in 1991 on Delicious Vinyl, guitarist Mark Lightcap, bassist Richie Lee, and drummer Steve Hadley played together for a total of 15 years. They disbanded in July 2001, when Lee committed suicide in the garage next to the house where the trio practiced. Afterwards, \u003cem\u003eRolling Stone\u003c\/em\u003e ran a short obituary saying Acetone’s albums were “well received” but “failed to make any waves.” It was the first and only time they were featured in the national music press.\u003c\/p\u003e\n\u003cp\u003eBetween 1993 and 2001 the trio released two LPs and an EP on Vernon Yard—a Virgin subsidiary—and two LPs on Vapor, the L.A.-based label founded by Neil Young and manager Elliott Roberts. In that span, they were selected to tour with Oasis, Mazzy Star, The Verve, and Spiritualized. Against a rising tide of post-Nirvana grunge and slipshod indie rock, Acetone tapped into a timeless Southern California groove by fusing elements of psychedelia, surf, and country.\u003c\/p\u003e\n\u003cp\u003eThey rehearsed endlessly in an empty bedroom in northeast Los Angeles, recording hours of music onto cassettes that were subsequently stuffed into shoeboxes and left in a shed behind the drummer’s house. Those tapes are being released for the first time in this anthology, which also includes highlights from Acetone’s official releases. Taken together, the songs form a companion soundtrack to Sam Sweet’s book, which maps the character of Los Angeles as a place through the lens of these three unique characters bonded by music.\u003c\/p\u003e\n\u003cp\u003e“I think our music is all about moods and feeling but hopefully it will get as weird as it possibly can,” said Richie Lee in 1997. “We want things to get weird in the way that you could hear an Acetone song and know that no one else in the world could make that kind of music but us.”\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eFirst time band anthology\u003c\/li\u003e\n\u003cli\u003eIncludes 9 unreleased tracks\u003c\/li\u003e\n\u003cli\u003eAudio restored and remastered from original tapes\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eLiner notes by Sam Sweet\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 159[[Artist]]Acetone\u003c\/p\u003e","brand":"Light in the 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Blue","offer_id":44088493277429,"sku":"LITA159-1-1","price":38.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1493764351162-ai8hwwa3hsh-806ff153653ea7306f069a8cda76efd7_2FAcetone-Cover.jpg?v=1697032707"},{"product_id":"rose-colored-corner","title":"Rose Colored Corner","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/vgQvE62Ebag\"\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003eThough most of the world may not know the songs of Lynn Castle, she is an artist whose work stretches across seven decades. She has created a diverse and vast (albeit mostly unreleased) discography of pop, folk, country, gothic, rock, punk, blues, and children’s songs. Light In The Attic Records is very excited to continue its Lee Hazlewood Archive Series with \u003cem\u003eRose Colored Corner\u003c\/em\u003e, a collection of intimate recordings Lynn Castle made with Jack Nitzsche in 1966 and her complete recorded output with Lee Hazlewood on \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e Records. For the first time ever Lynn is sharing recordings from her personal archive and telling her story.\u003c\/p\u003e\n\u003cp\u003eIn the 1960s Lynn became the first lady barber in LA just as long hair on men became hip. By day she was styling The Monkees, Boyce and Hart, Del Shannon, Sonny \u0026amp; Cher, the Byrds and countless others…by night she was writing songs. Despite lacking the desire to self promote and a crippling insecurity that made it hard to sing in front of anyone, her songs managed to bend the ears of such industry heavyweights as Phil Spector, Jack Nitzsche and Lee Hazlewood. “It was so hard to get me to sing,” explained Castle. “I had buried it so low, I didn’t think I was good at all. Lee heard my songs and thought I was fabulous. He said, ‘Oh my god, you’re really good! Let’s cut a record.’\u003c\/p\u003e\n\u003cp\u003eHer sole 1967 45 “The Lady Barber\" b\/w \"Rose Colored Corner,” released on Lee Hazlewood Industries is a slice of psychedelic pop heaven. A full length album was never completed, but her sparse demos with Jack Nitzsche give the listener a peek of what one might have sounded like. If you are familiar with Nitzsche’s mid-60s work with Tim Buckley, Bob Lind, and Buffalo Springfield…you can squint your ears and imagine her songs bejeweled with lush strings, finger cymbals, and delicate harpsichord. Instead, the songs remained unheard until now.\u003c\/p\u003e\n\u003cp\u003eJust because her songs weren’t recognized at the time doesn’t diminish their magic. This music is meant to be found and heard. Though commercial success may remain elusive, sometimes strange premonitions are realized… “When I was young, making music in the ‘60s, I had this strange thought that one day I would be this old woman, and young people would come find me and tell me that my music meant something to them.” – Lynn Castle\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eRemastered from pristine original master tapes\u003c\/li\u003e\n\u003cli\u003e10 previously unreleased songs recorded with Jack Nitzsche\u003c\/li\u003e\n\u003cli\u003eIncludes Lynn’s sole \u003cspan class=\"caps\"\u003eLHI\u003c\/span\u003e 45 produced by Lee Hazlewood\u003c\/li\u003e\n\u003cli\u003eLiner notes by Hunter Lea with Lynn Castle interview\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 157[[Artist]]Lynn Castle\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"Rose Colored Corner \/ Lynn Castle - MP3\/320 \/ album \/ 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src=\"https:\/\/www.youtube.com\/embed\/0aCYVWbqxMI\"\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eIn February of 1971, Larry Ray and Bill Szymczyk fled an earthquake and a debauched L.A. music scene to claim their own slice of utopia in Denver, Colorado. After meeting and bonding at \u003cspan class=\"caps\"\u003eABC\u003c\/span\u003e-Dunhill, where Ray landed as general manager, and where Szymczyk had breezed in from New York — fresh off his first real hit as a burgeoning engineer\/producer with BB King’s “The Thrill is Gone” — they’d often daydreamed about starting their own label.\u003c\/p\u003e\n\u003cp\u003eIn Denver, Ray and Szymczyk settled on the name Tumbleweed Records, and through industry connections they secured multi-million-dollar financing from Gulf + Western, whose head honchos believed they were bankrolling the hippie movement’s next big thing.\u003c\/p\u003e\n\u003cp\u003eBut instead of producing the next Janis Joplin or Jimi Hendrix, Ray and Szymczyk turned their sights on idiosyncratic wunderkinds like Pete McCabe, moody songwriters Robb Kunkel and Danny Holien, psych-folk rocker Arthur Gee, all the while providing a platform for more established musicians like Albert Collins and Dewey Terry (of Don \u0026amp; Dewey fame), while launching the career of Michael Stanley.\u003c\/p\u003e\n\u003cp\u003eIt was the best of times, it was the worst of times, and, per Szymczyk, it was a “bitchin’ disco time.” Drugs, parties, poetry, celebrities, money—Tumbleweed had it all, except airplay and distribution. Two years after its storied start, the label was finished.\u003c\/p\u003e\n\u003cp\u003eRay would go on to various opportunities, including producing five country albums alongside Bill Halverson, while Szymczyk would soon skyrocket to fame after producing The Eagles’ Hotel California. Yet most of Tumbleweed’s artists have been relegated to thrift store bin obscurity—until now. This landmark release not only showcases Ray’s vision and Szymczyk’s early work, but begins a major reappraisal of Tumbleweed’s catalog by bringing these songs out of the shadow of the Rocky Mountains and back into the spotlight.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eRestored and remastered audio\u003c\/li\u003e\n\u003cli\u003eLiner notes interviewing Tumbleweed principals Larry Ray and Bill Szymczyk, as well as surviving employees and artists\u003c\/li\u003e\n\u003cli\u003eUnseen archive photos, album artwork and label history\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 154[[Artist]]V\/A - Tumbleweed Records\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"The Tumbleweed Records Story 1971 - 1973 \/ Various Artists - MP3\/320 \/ album \/ 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At that moment begun a peculiar tale that would last far beyond the group’s five-year run. Dot, Betty and Helen (and occasionally Rachel, the fourth sister) played in the group on the insistence of their father, Austin Wiggin Jr., who was convinced they were going to be big. Years earlier, Austin’s mother gave him a palm reading, predicting that her son would marry a strawberry blonde woman, that he would have two sons after his mother died, and that his daughters would form a popular music outfit. The first two became reality, so Austin was certain the third would follow suit.\u003c\/p\u003e\n\u003cp\u003eWith pure confidence and his mother’s bold prediction, Austin decided that his daughters would forgo attending the local high school in favor of home schooling interspersed with a strict regiment of instrumental and vocal practice, along with jumping jacks and sit-ups. Soon after The Shaggs would enter Fleetwood Recording studios in Revere, Massachusetts to record their sole album, \u003cem\u003ePhilosophy Of The World\u003c\/em\u003e, a collection of garage rock tunes that balanced charm and discordance in equal measure. Austin would spend most of his savings not only on the session but also on the manufacturing costs to press up 1,000 copies of the album (900 of which mysteriously vanished upon completion).\u003c\/p\u003e\n\u003cp\u003eThroughout _Philosophy_… simple truths are revealed through the pen of sister Dot, the songwriter of the band. The rich people want what the poor people got, just as the poor people want what the rich people got. Your parents love you. There is happiness in nearness and sadness in the farness.\u003c\/p\u003e\n\u003cp\u003eThe album failed to fulfill Austin’s expectations of rock stardom, though the group remained together until their father’s death, performing frequently at the Fremont town hall and a local nursing home, no further albums were released. That might have been the end of it, until rock band \u003cspan class=\"caps\"\u003eNRBQ\u003c\/span\u003e discovered a copy at a Massachusetts radio station and re-released it in 1980. \u003cem\u003eRolling Stone’s\u003c\/em\u003e reviewer at the time described it as “the most stunningly awful wonderful record I’ve heard in ages”.\u003c\/p\u003e\n\u003cp\u003eNearly 50 years later, the album ranks among the most polarizing LPs of all time. Some said it was the worst thing ever made. Others felt it was one of the great long players of the 20th century. Frank Zappa famously dubbed the band “better than The Beatles”, while Kurt Cobain placed the album at #5 on his list of Top 50 favorite albums. Original copies of the album fetch for $10,000.\u003c\/p\u003e\n\u003cp\u003eDecades later and one could argue that maybe Austin was right all along. We’re all here, still enthralled by the purity of The Shaggs.\u003c\/p\u003e\n\u003cp\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003eIn 1968, three sisters from Fremont, New Hampshire strapped on their instruments and declared themselves The Shaggs. At that moment begun a peculiar tale that would last far beyond the group’s five-year run. Dot, Betty and Helen (and occasionally Rachel, the fourth sister) played in the group on the insistence of their father, Austin Wiggin Jr., who was convinced they were going to be big. Years earlier, Austin’s mother gave him a palm reading, predicting that her son would marry a strawberry blonde woman, that he would have two sons after his mother died, and that his daughters would form a popular music outfit. The first two became reality, so Austin was certain the third would follow suit.\u003c\/p\u003e\n\u003cp\u003eWith pure confidence and his mother’s bold prediction, Austin decided that his daughters would forgo attending the local high school in favor of home schooling interspersed with a strict regiment of instrumental and vocal practice, along with jumping jacks and sit-ups. Soon after The Shaggs would enter Fleetwood Recording studios in Revere, Massachusetts to record their sole album, \u003cem\u003ePhilosophy Of The World\u003c\/em\u003e, a collection of garage rock tunes that balanced charm and discordance in equal measure. 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That might have been the end of it, until rock band \u003cspan class=\"caps\"\u003eNRBQ\u003c\/span\u003e discovered a copy at a Massachusetts radio station and re-released it in 1980. \u003cem\u003eRolling Stone’s\u003c\/em\u003e reviewer at the time described it as “the most stunningly awful wonderful record I’ve heard in ages”.\u003c\/p\u003e\n\u003cp\u003eNearly 50 years later, the album ranks among the most polarizing LPs of all time. Some said it was the worst thing ever made. Others felt it was one of the great long players of the 20th century. Frank Zappa famously dubbed the band “better than The Beatles”, while Kurt Cobain placed the album at #5 on his list of Top 50 favorite albums. Original copies of the album fetch for $10,000.\u003c\/p\u003e\n\u003cp\u003eDecades later and one could argue that maybe Austin was right all along. 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Sharecropper. Church deacon. Civil Rights activist. Hayes McMullan should be a name on every Blues aficionados’ short-list and thanks to the preservation fieldwork carried out by one of the genre’s greatest researchers some 50 years ago – it might soon be.\u003c\/p\u003e\n\u003cp\u003eBorn in 1902, Hayes McMullan was discovered by the renowned American roots scholar, collector and documentarian Gayle Dean Wardlow. Wardlow, author of the seminal blues anthology \u003cem\u003eChasin’ That Devil Music – Searching for the Blues\u003c\/em\u003e, may be most famous for uncovering Robert Johnson’s death certificate in 1968, finally revealing clues to the bluesman’s mysterious and much disputed demise. Moreover, in his tireless and committed mission to preserve the Blues for future generations, he captured McMullan’s raw talent on tape and on paper. Wardlow recorded these sessions, transcribed the songs and now, writes the sleeve-notes for this landmark release.\u003c\/p\u003e\n\u003cp\u003eWardlow and McMullan met by chance on one of the former’s record-hunting trips, in Tallahatchie County, Mississippi, in 1967. Having introduced himself to McMullan on a hunch, it turned out this unassuming elderly man had not only heard of Wardlow’s idol, Charley Patton, but had played alongside him in the 1920s, as part of a brief musical journey that took him from the plantation to the open roads and juke joints of the Depression-era South. Striking up a friendship that was deemed unorthodox in 1960’s Mississippi, Wardlow traveled to McMullan’s sharecropper’s shack and convinced him to play guitar for the first time since he quit the Blues for the Church in the 30’s. “Hayes was playing like no one I had ever heard,” Wardlow writes with amazement.\u003c\/p\u003e\n\u003cp\u003eWardlow visited McMullan on a handful of occasions, always taking his recorder, a guitar and some whiskey with him. It was during these visits that Wardlow captured – with surprising clarity – the songs that make up \u003cem\u003eEveryday Seem Like Murder Here\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eHayes McMullan passed away at the age of 84 in 1986, his talent and legacy largely unknown. “Reflecting now on our brief time together, I marvel at the small glimpse of something much larger I was lucky to have captured,” writes Wardlow. “The few old snapshots I took, the handful of tunes we recorded, and his brilliant performance of “Hurry Sundown” captured on film are all that’s left of the musical legacy of Hayes McMullan, sharecropper, deacon, and—unbeknownst to so many for so long—reluctant bluesman.”\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eAll tracks previously unreleased (except track #3)\u003c\/li\u003e\n\u003cli\u003eRemastered from original tapes\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eLiner notes by blues historians Gayle Dean 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CD","offer_id":32191877447759,"sku":"LITA152CD","price":13.0,"currency_code":"USD","in_stock":true},{"title":"Everyday Seem Like Murder Here \/ Vinyl \/ 2LP Color","offer_id":44065414316277,"sku":"LITA152LP-COLOR","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1481071530847-norweq22gnu4qddh-790b171c632fa5b55455c899b217d848_2FHayes.jpg?v=1696119868"},{"product_id":"this-record-belongs-to","title":"This Record Belongs To__________","description":"\u003cp\u003e[[Release Detail]]\u003cmeta charset=\"utf-8\"\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\u003cstrong\u003eWondering when this will be back in stock? We love it too! There are no current plans to repress this title but if we do, we will announce it in our \u003cspan style=\"color: rgb(43, 0, 255);\"\u003e\u003ca href=\"https:\/\/lightintheattic.net\/pages\/newsletter\" style=\"color: rgb(43, 0, 255);\"\u003enewsletter\u003c\/a\u003e\u003c\/span\u003e. We encourage you to sign up there to be the first to know!\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eWe are pleased to announce that Light In The Attic \u0026amp; Third Man Records are joining forces to show impressional, young minds the virtues of good music and vinyl records…\u003c\/p\u003e\n\u003cp\u003eWe are pleased to announce that Light In The Attic \u0026amp; Third Man Records are joining forces to show impressionable, young minds the virtues of good music and vinyl records with our exclusive children’s compilation, \u003ci\u003eThis Record Belongs To______\u003c\/i\u003e available November 6th on LP, CD \u0026amp; digitally accompanied by Third Man Record’s new portable light-weight children’s turntable with built in speakers and a \u003cspan class=\"caps\"\u003eUSB\u003c\/span\u003e port for converting vinyl records to digital. Parents everywhere rejoice!\u003c\/p\u003e\n\u003cp\u003eWhat if your favorite children’s book were not only a timeless story but came with a soundtrack of tunes that kids and grown-ups alike would love? Hold onto your boots… it’s here! \u003ci\u003eThis Record Belongs To______\u003c\/i\u003e is the antidote to your standard kids compilations. You won’t find boy bands, princesses, or purple dinosaurs here. Instead the record consists of two halves–an upbeat side for daytime dancin’ and a mellow side for bedtime lullabies. Among the many gems featured include songs from Carole King, Woody Guthrie, Donovan, Harry Nilsson, Jerry Garcia, Nina Simone, Kermit The Frog and more.\u003c\/p\u003e\n\u003cp\u003eInspired by the classic Little Golden Books Series and Sesame Street’s In Harmony albums, \u003ci\u003eThis Record Belongs To ______\u003c\/i\u003e stems from a love of music, reading, and a passion for teaching future generations the interactive experience of holding an album in your hands, putting needle to groove, and immersing yourself in the pages of a record’s sleeve as the music plays. The compilation was compiled and sequenced by DJ and friend, Zach Cowie, who is as dear to our hearts as this collection of songs (previously passed around as a gift between friends) and is the soundtrack for many \u003cspan class=\"caps\"\u003eLITA\u003c\/span\u003e \u0026amp; \u003cspan class=\"caps\"\u003eTMR\u003c\/span\u003e offspring. These kiddos now all have undeniably excellent taste in tunes.\u003c\/p\u003e\n\u003cp\u003eThe record is accompanied by an original, full-color storybook illustrated by acclaimed artist, Jess Rotter, which tells the tale of five forest pals who find a mysterious object–a round, flat disc that they proceed to investigate. The animal friends finally solve the mystery and learn how to play a record and let their bodies move to the groove (within the grooves).\u003c\/p\u003e\n\u003cp\u003eHow can you fully introduce your children to the magic of vinyl records without letting them interact with the record player a bit themselves? Third Man Records realizes your high end turntable might not be kid-friendly, so they are co-releasing a portable, suitcase record player just for the kids. The new Third Man Records children’s turntable made by Jensen is compact and portable, featuring images of Manny, the Third Man mascot. The three-speed turntable with built-in speakers has a \u003cspan class=\"caps\"\u003eUSB\u003c\/span\u003e port for converting vinyl records to digital, an automatic return tone arm, and is as lightweight as a portable turntable can be.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eLP \u003cspan class=\"caps\"\u003eFEATURES\u003c\/span\u003e:\u003c\/b\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eOriginal storybook with illustrations by acclaimed artist Jess Rotter\u003c\/li\u003e\n\u003cli\u003eFeaturing songs compiled \u0026amp; sequenced by Zach Cowie from our friends Woody Guthrie, Nina Simone, Kermit The Frog, Carole King, and more\u003c\/li\u003e\n\u003cli\u003eFor ages 0-infinity!\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan class=\"caps\"\u003eTURNTABLE\u003c\/span\u003e \u003cspan class=\"caps\"\u003eFEATURES\u003c\/span\u003e:\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePortable 3-Speed Stereo With 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It is perhaps the strangest record in one of the most varied discographies in music. The bombastic brass heavy funk, deep blues and soul paired with Hazlewood’s subterranean baritone would be best enjoyed with a tall Chivas in an off-strip seedy Vegas lounge. It also features one of Hazlewood’s greatest lines ever “One week in San Francisco, existing on Nabisco, cookies and bad dreams, sad scenes and dodging paranoia.”\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“Pimps… whores… pushers… dopers… gangsters… and bottom of the human chain shit-heels. Now you’re probably thinking I’m writing about major record companies and their unscrupulous executives… and lawyers. You could be right… but this time… YOU’RE \u003cspan class=\"caps\"\u003eWRONG\u003c\/span\u003e!\u003c\/em\u003e \u003cem\u003eI’m describing the characters in my album ‘13’\u003c\/em\u003e \u003cem\u003e…Some I knew… some I invented … some are true… some are false… some I liked… some I didn’t. 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Margaret “The Iron Lady” Thatcher was in power, and her budget-cutting, ultra-conservative influence was felt strongly in–among many other places–the cultural melting pot of Brixton, South London, where This Heat had their origins.\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"420\" height=\"340\" src=\"https:\/\/www.youtube.com\/embed\/vqnfa32SP6w\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eDusting himself off after the collapse of the band in 1982, guitarist\/vocalist Charles Bullen united with Julius Samuel to form Lifetones and embraced the sounds of the local West Indian community to fuse reggae flavor to the kind of propulsive, rhythmic, and experimental music made by This Heat.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eDeceit\u003c\/em\u003e, This Heat’s 1981 album, had seen them work with David Cunningham, who had already helped mesh dub reggae with new wave pop on The Flying Lizards’ 1979 single, “Money (That’s What I Want Want).” Even so, \u003cem\u003eFor A Reason\u003c\/em\u003e was a great leap, one that created a strange, unsettling mood as Bullen’s multi-tracked, chant-like vocals met dub beats and Krautrock-informed repetition. Where \u003cem\u003eDeceit\u003c\/em\u003e dealt with the nuclear threat, \u003cem\u003eFor A Reason\u003c\/em\u003e was less reactionary, even quoting Bob Marley in its lyrics: “you love the life you live, you live the life you love.”\u003c\/p\u003e\n\u003cp\u003eContaining 6 songs in total, the album was recorded at Cold Storage studio and released on Bullen’s own Tone Of Life Records. It has become a sought-after collector’s item that changes hands for hundreds of dollars a time. As a solo artist, Bullen was not prolific–it was 15 years until, in 1998, he released \u003cem\u003eInternal Clock\u003c\/em\u003e under the name Circadian Rhythms–but like the rest of his band, he has enjoyed a long, enriching career in unending pursuit of new sounds.\u003c\/p\u003e\n\u003cp\u003eEven though This Heat had no commercial success to follow up on, \u003cem\u003eFor A Reason\u003c\/em\u003e was an album created with no intention of hitting the charts. 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It’s why Paul McCartney once reproduced Let It Be and why Kate Bush re-recorded Wuthering Heights for her best-of album. For the prolific Michael Chapman, that album is Window, the missing link in the series of Chapman’s early albums being reissued by Light In The Attic Records. Window sits just after the previously released Fully Qualified Survivor and Rainmaker, right before Wrecked Again.\u003c\/p\u003e\n\u003cp\u003eIn 1970, signed to the hip Harvest label (home to Kevin Ayers and Syd Barrett, among others), Chapman was still an artist waiting for that first big success, perpetually skint and permanently touring to make ends meet. With that in mind, he aimed to make Window in as little time as possible because being in the studio meant not being on the road. Producer Gus Dudgeon–who’d been working with Elton John–had other ideas and booked Chapman and his band into one of the UK’s most expensive studios, Trident.\u003c\/p\u003e\n\u003cp\u003eThe singer-songwriter and prodigious guitarist was in transition from his folkier origins to his heavier future and heading for a whole mess of trouble with the same year’s Wrecked Again. Given the touring bust-ups and tortured recording sessions to come, Michael’s wife Andru Chapman remembers the recording of Window was noted for a “lack of hiccups. No one threw their toys out of the pram, unlike Wrecked Again.” Recorded with U.S. guitar player Phil Greenberg, violin player Johnny Van Derek, and pianist Alex Atterson, the album has a blend of electric and acoustic instruments, both traditional and experimental at once, synthetic sounds melding with finger-picked guitars.\u003c\/p\u003e\n\u003cp\u003eThe trouble came later. Immediately after recording finished, Michael took the band back out on the road with the understanding that as soon as he got back, he’d put the final acoustic guitar tracks down to replace what he’s always said were only guide tracks. Unfortunately, Harvest’s parent label decided the album was finished and pressed it up anyway. And Chapman, as a result, hates it. Indeed, 34 years later he even set out to right the wrong, re-recording parts of the LP and noting it was a strange experience listening to “dead people on the between-track studio chatter” (Dudgeon, engineer Robin Cable, and drummer Richie Dharma have all since passed).\u003c\/p\u003e\n\u003cp\u003eAs part of Light In The Attic’s revival of Chapman’s early career, however, the album is presented as was originally released, with Michael’s blessing and albeit with two CD-only bonus tracks. Andru notes, \"Warts and all, it is an important part of the Michael Chapman: The Early Years story.” Michael has been less diplomatic in talking about the album. \"It is a piece of my history for those interested in that, even though I think it sounds like a piece of crap,” he says.\u003c\/p\u003e\n\u003cp\u003eWe’re loathe to disagree with him, but, well, why don’t you take a listen and decide for yourselves?\u003c\/p\u003e\n\u003cp\u003e[[Catalog Number]]LITA 124[[Artist]]Michael Chapman\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"Window \/ Vinyl \/ LP Black","offer_id":32200682176591,"sku":"DE-006","price":16.0,"currency_code":"USD","in_stock":true},{"title":"Window \/ Vinyl \/ LP","offer_id":32236501925967,"sku":"LITA124LP","price":18.0,"currency_code":"USD","in_stock":true},{"title":"Window \/ CD \/ CD","offer_id":32237411532879,"sku":"LITA124CD","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/products\/tmp_2F1420589160795-0x5bbyfzw4zyf1or-d1b778857b07e7e782ed89c421f836c8_2FLITA124_2d9a8bba-495b-457c-a677-bbcaa0951182.jpg?v=1590119590"},{"product_id":"ep","title":"EP","description":"\u003cp\u003e[[Artist]]\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"EP \/ Vinyl \/ 10\" Black","offer_id":32200688500815,"sku":"DWO003","price":16.0,"currency_code":"USD","in_stock":true},{"title":"EP \/ Vinyl \/ LP Etched","offer_id":43348180926709,"sku":"LOH-11","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/products\/tmp_2F1435013358724-prxyhvsf58czbyb9-3a0a11c4110330ff038e1fb5901a6865_2F5053760013013.jpg?v=1589569685"},{"product_id":"the-essential-disney-collection","title":"The Essential Disney Collection","description":"\u003cp\u003e[[Artist]]\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"The Essential Disney Collection \/ Vinyl \/ 2LP Black","offer_id":32200699183183,"sku":"DFLP6","price":35.0,"currency_code":"USD","in_stock":true},{"title":"The Essential Disney Collection \/ Vinyl \/ 2LP Blue","offer_id":43348182139125,"sku":"DFLP006M","price":34.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/products\/tmp_2F1585687809680-8cy76oohtrt-0953f805e584e9e6a3ce8c2acec67322_2FDisney_2B_283_29.jpg?v=1592848024"},{"product_id":"singles","title":"Singles","description":"\u003cp\u003e[[Artist]]\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"Singles. \/ Vinyl \/ LP Black","offer_id":32201567404111,"sku":"LIONLP-144","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/products\/tmp_2F1412628961762-neijamh92wng66r-03179b729e167fc938b5a6feea44a64a_2F49th.jpg?v=1589584260"},{"product_id":"god-of-war-original-video-game-soundtrack-old","title":"God of War (Original Video Game Soundtrack)","description":"\u003cp\u003e[[Artist]]\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"God Of War (Original Video Game Soundtrack) \/ Vinyl \/ 2LP","offer_id":32201591816271,"sku":"MOND-129","price":38.0,"currency_code":"USD","in_stock":true},{"title":"God of War (Original Video Game Soundtrack) \/ Vinyl \/ 2LP Multicolor","offer_id":43348177453301,"sku":"MOND-129C","price":40.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/products\/tmp_2F1528219043135-vtv6mpv9sj-6ce4997f22fa136da1858a1965ec2ad8_2FGod_2BOf_2BWar.jpg?v=1589584404"},{"product_id":"metal-gear-original-msx2-video-game-soundtrack","title":"Metal Gear Original MSX2 Video Game Soundtrack","description":"\u003cp\u003e[[Artist]]\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"METAL GEAR - 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The focus was making music and soul searching, as was the practice for affluent young hippies back then. They stayed for two months. “I wanted to go in a new direction,” says Marcos looking back. “I wanted to try out a rock influence and to risk a little bit more.” Shifting away from the studio musicians used on 1971’s \u003cem\u003eGarra\u003c\/em\u003e, \u003cem\u003eVento Sul\u003c\/em\u003e (translation “South Wind”) was a rewarding collaboration with Brazilian progressive rockers O Terço.\u003c\/p\u003e\n\u003cp\u003eOriginally released in 1972, \u003cem\u003eVento Sul\u003c\/em\u003e not only channeled the Búzios beach bum vibe, but also manifested a floating dream like psychedelic sound. Any way you spin it, we at Light In The Attic are extremely proud to present \u003cem\u003eVento Sul\u003c\/em\u003e as part of our four-album Marcos Valle reissue campaign. Consisting of an ambitious string of early 1970s landmark studio sessions (sympathetic in spirit to Stevie Wonder and Marvin Gaye’s game changing work from the same era) and released on CD and LP, \u003cem\u003eVento Sul\u003c\/em\u003e (including a rare bonus track on the CD version) features extensive liner notes by San Francisco-based writer Allen Thayer (Wax Poetics) with exclusive interview content and song-by-song breakdown from Marcos himself. Fans new and old will finally have easy breezy access to these once hard-to-find Brazilian classics.\u003c\/p\u003e\n\u003cp\u003eElevated by a strong union between Valle and O Terço, \u003cem\u003eVento Sul’s\u003c\/em\u003e magical spell of an album is a welcome addition to any South American friendly record collection and sits proudly with the best of Brazil. File after Os Mutantes and before Caetano Veloso.\u003cbr\u003e\u003ciframe width=\"325\" height=\"183\" src=\"https:\/\/www.youtube.com\/embed\/mJYSmM6XQGU\"\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003ciframe width=\"325\" height=\"183\" src=\"https:\/\/www.youtube.com\/embed\/jmZqb_62Sck\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eIn-depth liner notes interviewing Valle\u003c\/li\u003e\n\u003cli\u003eFirst Time Available in North America\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eLyrics in Portuguese \u0026amp; English\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 092[[Artist]]Marcos Valle\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"Vento Sul \/ Vinyl \/ LP Black","offer_id":32201725902927,"sku":"LITA092LP","price":19.0,"currency_code":"USD","in_stock":true},{"title":"Vento Sul \/ CD \/ CD","offer_id":32237504233551,"sku":"LITA092CD","price":14.0,"currency_code":"USD","in_stock":true},{"title":"Vento Sul \/ Vinyl \/ LP Blue","offer_id":44065410613493,"sku":"LITA092LP","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/ventoWEB.jpg?v=1696119810"},{"product_id":"spirit","title":"Spirit","description":"[[Release Detail]]\u003cp\u003eWillie Nelson’s 1996 album Spirit is an emotional concept album illustrating the forlorn tale of a man abandoned by the great love of his life. We follow him down the path of loss as he confronts grief, gets back on his feet, and eventually finds solace in acceptance. While producing Spirit, Nelson assuredly knew the commercial risks behind releasing an album this melancholic. After all, in 1973 he himself wrote “sad songs and waltzes ain’t selling this year.” Beloved by those familiar with Nelson’s deep catalog, Spirit largely slipped through the cracks in the mainstream, but remains highly revered amongst critics and fans alike.\u003c\/p\u003e\n\u003cp\u003eBacked by legendary country fiddler Johnny Gimble (of Bob Wills and His Texas Playboys), sister Bobbie Nelson on piano, and his longtime touring guitarist Jody Payne, the song-cycle is anchored by lilting Spanish-inspired instrumentals that absorb a lonesome gravity when placed next to ballads that tug at even the most unwavering heartstrings. Likened to Bob Dylan’s Time Out Of Mind or Waylon Jennings’ Right For the Time, Spirit sees Nelson maturing most gracefully: he trades rousing sing-alongs and saloon tunes for gut-wrenching lyrics and instrumentation of greater precision and skill, proving this release as deep and as challenging as his career-defining albums released twenty years before.\u003c\/p\u003e\n\u003cp\u003eOriginally released by Island Records in 1996, Spirit is issued here on vinyl for the first time as a special Record Store Day Black Friday release. Newly remastered with a deluxe, gatefold, ‘tip-on’ uncoated jacket, this is a chance to own this unique album in its most beautifully presented form.\u003c\/p\u003e[[Release Description]]\u003cp\u003eAvailable: June 25th, 2021\u003c\/p\u003e\n\u003cp\u003eWillie Nelson’s 1996 album Spirit is an emotional concept album illustrating the forlorn tale of a man abandoned by the great love of his life. We follow him down the path of loss as he confronts grief, gets back on his feet, and eventually finds solace in acceptance. While producing Spirit, Nelson assuredly knew the commercial risks behind releasing an album this melancholic. After all, in 1973 he himself wrote: “sad songs and waltzes ain’t selling this year.” Beloved by those familiar with Nelson’s deep catalog, Spirit largely slipped through the cracks in the mainstream, but remains highly revered amongst critics and fans alike.\u003c\/p\u003e\n\u003cp\u003eBacked by legendary country fiddler Johnny Gimble (of Bob Wills and His Texas Playboys), sister Bobbie Nelson on piano, and his longtime touring guitarist Jody Payne, the song-cycle is anchored by lilting Spanish-inspired instrumentals that absorb a lonesome gravity when placed next to ballads that tug at even the most unwavering heartstrings. Likened to Bob Dylan’s Time Out Of Mind or Waylon Jennings’ Right For the Time, Spirit sees Nelson maturing most gracefully: he trades rousing sing-alongs and saloon tunes for gut-wrenching lyrics and instrumentation of greater precision and skill, proving this release as deep and as challenging as his career-defining albums released twenty years before.\u003c\/p\u003e\n\u003cp\u003eOriginally released by Island Records in 1996, Spirit is newly remastered and housed in a gatefold jacket. This is a chance to own this unique album in its most beautifully presented form.\u003c\/p\u003e[[Selling Points]]\u003cul\u003e\n\t\u003cli\u003eNewly remastered audio\u003c\/li\u003e\n\t\u003cli\u003eLP housed in a gatefold jacket\u003c\/li\u003e\n\u003c\/ul\u003e[[Catalog Number]]MCR925[[Artist]]Willie Nelson","brand":"Modern Classics Recordings","offers":[{"title":"Spirit \/ Vinyl \/ LP Black","offer_id":32201766273103,"sku":"MCR925-1.2","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1506965162741-htifiw9cv7i-321224c15dd196f061c766c5e56c0ea1_2FMCR925.jpg?v=1696119861"},{"product_id":"kearney-barton","title":"Kearney Barton","description":"\u003cp\u003e[[Release Detail]]\u003cmeta charset=\"utf-8\"\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003eMagic that could only have been seen on a small stage, in a packed theatre, in August of 2004. That was when Light In The Attic released a landmark compilation called \u003cem\u003eWheedle’s Groove: Seattle’s Finest In Funk \u0026amp; Soul 1965-75\u003c\/em\u003e, and to celebrate brought together many of those original Seattle funk and soul artists for a one-night-only reunion concert, led by young blood music director and \u003cspan class=\"caps\"\u003eKEXP\u003c\/span\u003e DJ Johnny Horn, and featuring Robbie Hill, Overton Berry, Patrinell Staten, Ron Buford, and KYAC’s very own #1 boss-jock Robert Nesbitt. The following day, still on a high from the show, \u003cspan class=\"caps\"\u003eLITA\u003c\/span\u003e, Horn, DJ Mr. Supreme, and lead-producer Dynomite D (Beastie Boys) birthed the idea of cutting a new album – covers and originals – with some of these local music legends.\u003c\/p\u003e\n\u003cp\u003eSo the choice was made to record all analog at the very studio where it all began – Audio Recording – with the man who not only fostered an original Northwest sound but engineered a handful of the original Wheedle’s Groove tracks – studio wiz Kearney Barton (The Sonics, The Wailers, Black On White Affair). And now, 5 years later, Light In The Attic is happy to put forth Wheedle’s Groove – \u003cem\u003eKearney Barton\u003c\/em\u003e, an album of 9 new earth shaking, head nodding grooves, including Patrinell (Pastor Pat Wright) Staten and the Total Experience Gospel Choir’s interpretation of Soundgarden’s “Jesus Christ Pose,” Overton Berry’s keyboard led “Humpty Dumpty” (originally recorded by Placebo\/Marc Moulin), and the long overdue reunion of Ron Buford with Ural Thomas – the talented pair behind the 1965 local smash “Deep Soul”.\u003c\/p\u003e\n\u003cp\u003eFar from retro cash grab rehash, this is a serious funk throw down and original work of art, shaming musicians half their ages in the process. 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Light In The Attic proudly presents the first true debut of Studio One veteran and Jackie Mittoo band mate Wayne McGhie \u0026amp; the Sounds of Joy. Originally released in 1970 on the Birchmount label, this self-titled masterpiece is a wicked mix of reggae, funk, soul and wide open drum breaks. The best album you never got the chance to hear and cited by many as the first Canadian soul album!\u003c\/p\u003e\n\u003cp\u003eFinally back in print and one of the pinnacle releases in the Light in the Attic Records catalog, \u003cem\u003eWayne McGhie \u0026amp; the Sounds of Joy\u003c\/em\u003e is the debut album of Jamaican-Canadian legend Wayne McGhie. Originally released in 1970 on the Birchmount label, the Sounds of Joy is a crucial mix of funk, soul, and reggae. Cited as one of the first Canadian soul albums (and now heralded as one of Toronto’s best LPs ever), LITA’s expanded 2014 vinyl edition celebrates the ten-year anniversary of our landmark 2004 reissue.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eFinally back in print\u003c\/li\u003e\n\u003cli\u003eExpanded liner notes by Kevin “Sipreano” Howes including exclusive interviews w\/ McGhie, Alton Ellis, and Lloyd Delpratt\u003c\/li\u003e\n\u003cli\u003e180gram LP housed in a deluxe Stoughton gatefold “Tip-On” jacket\u003c\/li\u003e\n\u003cli\u003eRare archive photographs\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 008[[Artist]]Wayne McGhie \u0026amp; The Sounds of Joy\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"Wayne Mcghie \u0026 The Sounds of Joy \/ Wayne McGhie - MP3\/320 \/ album \/ 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The on-going \u003cem\u003eWheedle’s Groove\u003c\/em\u003e series continues to present a vast chapter of the city’s musical heritage that has little to do with long-haired rock dudes with guitars. \u003cmeta charset=\"utf-8\"\u003eNo – in the world of \u003cem\u003eWheedle’s Groove\u003c\/em\u003e, platform shoes and pimp hats were the order of the day. But unlike \u003cem\u003eVolume I\u003c\/em\u003e, Seattle’s soul scene did not stop in 1975. A new volume, \u003cem\u003eWheedle’s Groove Vol. II\u003c\/em\u003e, documents the period from 1972 to 1987, when funk was superseded by disco and modern soul. Compiled and sequenced by Seattle’s DJ Supreme La Rock, this 18-track compilation will also introduce you to the forgotten sound of Seattle’s soul \u0026amp; funk scene.\u003c\/p\u003e\n\u003cp\u003eHeading into the ‘80s, artists in the Emerald City caught wind of the hip-hop and electro scenes that were growing in bigger cities across America, and gave the music their own distinct spin.\u003c\/p\u003e\n\u003cp\u003eAs the years unfurl in the tracks of \u003cem\u003eWheedle’s Groove Volume II\u003c\/em\u003e, so does the recent history of American music, the songs tracing technological changes and social change, and music’s move from the club to disco as live bands moved aside for DJs. Witness Septimus, on the cusp of both, blending a live drummer with a Roland drum machine and cutting ‘Here I Go Again’ on a disco-friendly 12” single.\u003c\/p\u003e\n\u003cp\u003eSeparated from the major centers of soul music, Seattle was a scene that developed out of the gaze of the mainstream music industry, but one that moved just as fast. As John Studamire of the band Priceless remembers, “A lot of the groups around town would have to incorporate that disco sound or you’d sound totally dated.”\u003c\/p\u003e\n\u003cp\u003eSeattle’s size and location had a great effect on its sound. Artists on the scene were accustomed to playing small, discreetly segregated club shows and pressing short runs of 45s for local radio stations. Touring happened mostly on a regional scale and artists popped up in a variety of different bands. Fans of \u003cem\u003eVolume I\u003c\/em\u003e will recognize some familiar names here: Robbie Hill’s Family Affair turn in the soul-jazz gem ‘Don’t Give Up’ and Cold, Bold \u0026amp; Together present the undeniable vocal beauty of ’Let’s Backtrack.’\u003c\/p\u003e\n\u003cp\u003eCompiled and sequenced by Seattle’s DJ Supreme La Rock, this 18-track compilation will also introduce you to the long-forgotten blue-eyed soul boy Don Brown (‘Don’t Lose Your Love’) and frustrated talents Push, overlooked for record deals on account of singer “Big Joe” Erickson’s larger-than-life heft (‘You Turn Me On’). There’s Frederick Robinson \u003cspan class=\"caps\"\u003eIII\u003c\/span\u003e and his gospel-funk protest tune ‘Love One Another’, Tony Benton of Teleclere being Seattle’s answer to Prince (‘Steal Your Love’) and Seattle Mariners baseball star Lenny Randle recording a tribute to their infamous stadium\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eCompiled by DJ Supreme La Rock\u003c\/li\u003e\n\u003cli\u003eAlbum cover photo by Leonard Bordeaux\u003c\/li\u003e\n\u003cli\u003eAll tracks re-mastered\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 108[[Artist]]Wheedle's Groove\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"Wheedle's Groove: Seattle Funk, Modern Soul \u0026 Boogie Volume II 1972-1987 \/ Various Artists - MP3\/320 \/ album \/ MP3\/320","offer_id":32229017485391,"sku":"73R\/MP3","price":10.99,"currency_code":"USD","in_stock":true},{"title":"Wheedle's Groove: Seattle Funk, Modern Soul 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Each track on this compilation is an untold musical history lesson. Those of you who were around back then are likely to have a wonderful time reliving the good-old days. After all, you helped make it happen. Have fun.\u003c\/p\u003e\n\u003cp\u003eIt’s one of those things where you kind of had to be there, to get the full effect of what Seattle was like in the late ‘60s and early ’70s. I really didn’t know what to expect, when I arrived from Buffalo, New York, in ’72, other than Seattle had a history rich in music – Jimi Hendrix, Quincy Jones, Ernestine Anderson and Ray Charles.\u003c\/p\u003e\n\u003cp\u003eBack then, gas cost you twenty-seven cents a gallon to fill up your baddass ride. There was no Seahawks, no Mariners, or Microsoft or Amazon. Girls were still named Frances and Darlene, and guys were known by Freddie and Arthur. Garfield and Franklin were the leading high schools for setting Seattle’s soulful social standards. Dick’s and Dag’s were the spots for twenty-nine-cent burgers, while Helen’s Diner was (and still is) known for the best soul food on the West Coast. TJ’s and Mr. D’s were the clothing stores where most of the brothers shopped, and the CD, the Central District, was (and still is) the heart and soul of the city. The Facts and The Medium newspapers kept all abreast of what was happening in the CD, and \u003cspan class=\"caps\"\u003eKYAC\u003c\/span\u003e radio tied everything together.\u003c\/p\u003e\n\u003cp\u003eThere was a minimum of twenty live-music clubs specializing in funk and soul, and all those joints jammed. There must have been twenty-five hard-giggin’, Superfly-like, wide-leg-polyester-pant-and-platform-shoes-wearing, wide-brim-hat-and-maxi-coat-sportin’, big-ass, highly-“sheened”-afro-stylin’, Kool \u0026amp; the Gang song-covering live bands playing four sets a night from 8 p.m. ‘til O-dark-thirty in the morning. 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Back in the summer of 2001, in a mad effort to locate lost Beach Boys tapes; a group called The Free Design popped up on my computer. The bubble gum grade-school artwork of their \u003cem\u003eKites Are Fun\u003c\/em\u003e debut decorated my monitor a couple of clicks later. A quick trip over to eBay procured the first of many OG press editions of The Free Design catalog, and within a week, we were in contact with the owner of their master recordings. The quest to share this music, long relegated to vinyl graveyards across the country, had begun!\u003c\/p\u003e\n\u003cp\u003eSelling Free Design albums has never been easy. Despite angelic vocal talents, hook-heavy songwriting skills, and immaculate presentation, the group’s soft-psych family affair failed to elicit iconic stature in the ever-fickle pop community. Even state-of-the-art recording techniques and contributions from a stable of the finest session musicians around weren’t enough for Enoch Light’s Project 3 label (who released six of seven Free Designs LPs between 1967-72) to register a chart smash. Perhaps it came down to promotion, with the label spending more money on well-produced yet trite easy listening sounds.\u003c\/p\u003e\n\u003cp\u003eAll but disappearing after the 1972 release of \u003cem\u003eThere Is A Song\u003c\/em\u003e, it took over two decades and stealth-like interest from underground Japanese tastemakers, sunshine pop fanatics, and dusted beat diggers to bring long overdue credit to Chris, Bruce, Sandy, and Ellen Dedrick. Word spread fast about the group’s mellifluous sounds, with vinyl junkies scouring shops the world over in search of their musical ornaments.\u003c\/p\u003e\n\u003cp\u003eInspired by a serious Cuban feast in L.A. with DJ, producer, and Stones Throw label owner Peanut Butter Wolf, we collectively birthed the idea of bringing The Free Design’s music into the 21st century. It didn’t take long to realize that everyone involved sought something deeper and more meaningful than your average remix series. In other words, \u003cem\u003eThe Free Design Redesigned\u003c\/em\u003e, which saw three separate limited 12\" singles hit the streets with over a dozen reinterpretations from today’s finest music-makers: Madlib, Belle \u0026amp; Sebastian’s Chris Geddes \u0026amp; DJ Hush Puppy, Danger Mouse \u0026amp; Murs, Nobody, Caribou (formerly known as Manitoba), Super Furry Animals, Stereolab \u0026amp; the High Llamas, Kid Koala \u0026amp; Dynomite D., Koushik \u0026amp; Dudley Perkins, and more!\u003c\/p\u003e\n\u003cp\u003eNow on CD for the first time, \u003cem\u003eThe Free Design: The Now Sound Redesigned\u003c\/em\u003e, includes every track from the 12\" vinyl series housed in a beautiful gatefold digipak. It’s a celebration of all things Dedrick mixed with the sound of now.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eFeaturing exclusive cuts from Stereolab, Madlib, members of Mars Volta and Belle \u0026amp; Sebastian, Danger Mouse, Super Furry Animals, Kid Koala, Peanut Butter Wolf, Caribou (formerly Manitoba) and many more\u003c\/li\u003e\n\u003cli\u003eIncludes 3 unreleased tracks\u003c\/li\u003e\n\u003cli\u003eSequenced, edited, and additional interludes by Nobody\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 016[[Artist]]The Free Design\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"The Free Design: The Now Sound Redesigned \/ Various Artists - MP3\/320 \/ album \/ MP3\/320","offer_id":32229065556047,"sku":"42R\/MP3","price":11.99,"currency_code":"USD","in_stock":true},{"title":"The Free Design: The Now Sound Redesigned \/ Various Artists - FLAC \/ album \/ 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Located just outside of Toronto, the label fired their first shot in 1974 with Johnnie Osborne’s “Sun Rise” backed with the heavenly bounce of “Love Makes The World Go Round” (co-produced by Brown’s one-time collaborator and Half Moon Records founder, Oswald Creary). Throughout most of the seventies, Canadian-produced reggae music was a commercial non-entity, bar a thriving underground scene of ex-pats who simply did what came naturally to them in small studios and private dances. The records mostly sat unnoticed amidst the steady flow of JA product in the gaggle of independent record shops in Toronto that catered to the West Indian population.\u003c\/p\u003e\n\u003cp\u003eThis sleeping giant will rest no more…\u003c\/p\u003e\n\u003cp\u003eOver the years, a veritable who’s who of reggae music legends passed through Brown’s now defunct basement studio, wired by none other than Prince (now King) Jammy: Jackie Mittoo, Willi Williams, Noel Ellis, Johnnie Osbourne, Stranger Cole, Leroy Sibbles, and Carl Dawkins to name a few. One-by-one they recorded the otherworldly tracks that form the cornerstone of Light In The Attic’s \u003cem\u003eSummer Records Anthology (1974-1988)\u003c\/em\u003e. Compiled and annotated by \u003cem\u003eJamaica-Toronto\u003c\/em\u003e series producer Sipreano (aka Kevin Howes) along with art direction by Vincent Cook (2 Step\/Sandinista, Tokyo), this project is a testament to the dedication and persistence of Jerry Brown and his masterful sonic vision.\u003c\/p\u003e\n\u003cp\u003eReggae… Roots… Dub… \u003cspan class=\"caps\"\u003eDVD\u003c\/span\u003e…\u003c\/p\u003e\n\u003cp\u003eThe \u003cem\u003eSummer Records Anthology (1974-1988)\u003c\/em\u003e contains crucial catalogue tracks, unreleased masters, and never heard before alternate takes. Song highlights include Jerry Brown’s “Dreadlock Lady”, Johnnie Osbourne’s “Warrior” (Summer Records unreleased alternate version), and “Reach My Destiny” by Noel Ellis. 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In this unique cross-cultural overview Bob Dylan’s 1971 single “George Jackson” (never before reissued) sits alongside Gil Scott-Heron, John \u0026amp; Yoko, and The Original Last Poets, plus selections from the Black Forum label, Motown’s early ‘70s Black Power imprint featuring Elaine Brown, Stokely Carmichael, \u0026amp; Amiri Baraka.\u003c\/p\u003e\n\u003cp\u003eThe Definitive Black Power Aural Document\u003c\/p\u003e\n\u003cp\u003eOver a five year period in Oakland, CA – archivist Pat Thomas befriended key leaders of the seminal Black Power Movement, dug through Huey Newton’s archives at Stanford University, spent countless hours and thousands of dollars on eBay, and talked to rank and file Black Panther Party members, uncovering dozens of obscure albums, singles, and stray tapes. Along the way, he began to piece together a time period (1967-1974) when revolutionaries were seen as pop culture icons: Bobby Seale, Eldridge Cleaver, Angela Davis, Stokely Carmichael – and musicians were seen as revolutionaries; Gil Scott-Heron, The Last Poets, Bob Dylan, John Lennon and others. As a result, Thomas wrote a 70,000-word hardcover book entitled \u003ca href=\"http:\/\/bit.ly\/tAPF29\" target=\"_blank\"\u003e\u003cem\u003eListen, Whitey! The Sights and Sounds of Black Power 1965 – 1975_\u003c\/em\u003e\u003c\/a\u003e – to be published by blank\"\u0026gt;Fantagraphics in early 2012 – which also includes some 200 full color images of obscure recordings that encompass rock, soul, jazz, comedy, poetry, and even religious sermons blended with Black Nationalism.\u003c\/p\u003e\n\u003cp\u003eLight In The Attic Records presents the companion ‘soundtrack’ to the book, For the time first ever, Black and White artists share space on a definitive anthology of the Black Power era. A cross-cultural overview that sees Bob Dylan’s out of print 1971 single “George Jackson” reissued for the first time along with several selections from Motown’s long forgotten ‘Black Forum’ label – Motown’s early 70’s Black Power militant imprint that has never been documented until now with provocative recordings from \u003cspan class=\"caps\"\u003eSNCC\u003c\/span\u003e spokesman Stokely Carmichael, outspoken African-American poet Amiri Baraka, and Black Panther Party singer\/songwriter Elaine Brown.\u003c\/p\u003e\n\u003cp\u003eIntensive hours of research led to a 16-track anthology that not only brings together Dylan and Lennon on the same compilation for the first time (via John \u0026amp; Yoko’s 1972 song about Angela Davis), but presents the diversity of the Black Power Movement like never before. Despite their common goal of freedom and respect, many of these activists didn’t necessarily speak for or to each other. Eldridge Cleaver was living in exile in Algiers in 1970 when \u003cspan class=\"caps\"\u003eLSD\u003c\/span\u003e guru Timothy Leary showed up seeking asylum. Weeks later, Leary was placed under ‘house arrest’ by Cleaver and that moment is presented here. The Last Poets quickly splintered into several factions not long after their debut and several recordings capture that tumultuous period. Comedian Dick Gregory was as into mocking the establishment as he was trying to make people laugh and his monologue reflects a time when ‘entertainment’ needed to be political to be relevant. There were regional private press 7 inch singles from the likes of the Shahid Quintet, and the Black Panther’s own band The Lumpen. Gene McDaniels’ \u003cem\u003eOutlaw\u003c\/em\u003e album has long been a cult favorite, and is represented by a 1970 live version of “Silent Majority.” No Black Power anthology would be complete without Gil Scott-Heron featured on a rare 1970’s solo piano take of “Winter in America.” The international significance of the times is reflected with a live 1969 recording of English folk singer Roy Harper’s “I Hate The White Man.”\u003c\/p\u003e\n\u003cp\u003eNo less of an expert than New York based journalist Greg Tate recently remarked when glancing at the \u003cem\u003eListen, Whitey!\u003c\/em\u003e book from which this compilation is gleaned; “Look out newjacks, post-blacks and radical rookies – this Molotov romancing family album is about to grab your mama.’’\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/www.youtube.com\/embed\/q04J1E73HXk\" height=\"195\" width=\"325\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/www.youtube.com\/embed\/VVNSQpaVBBU\" height=\"195\" width=\"325\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eCompanion ‘soundtrack’ to the Fantagraphics book, \u003cem\u003eListen Whitey\u003c\/em\u003e\u003cem\u003e\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003eFeaturing tracks by Gil Scott-Heron, John \u0026amp; Yoko, the Black Forum and Black Power labels, including the never-before-reissued song “George Jackson” by Bob Dylan, plus much more.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 081[[Artist]]V\/A\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"Listen, Whitey! 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With extensive liner notes by Jessica Hundley (\u003cspan class=\"caps\"\u003eMOJO\u003c\/span\u003e, The New York Times, Vogue), original album\/label artwork, and new illustrations by Jess Rotter (JessRotter.com, Rotter \u0026amp; Friends), this down home package is not only a treat for the ears, but a feast for the eyes. Think of this as a fantasyland where the Josie-era Meters back young Elvis singing Kris Kristofferson-penned slices of rustic American life and you’ll begin to understand the country funk vibe. It’s from the swamp to the city and all points in between.\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"325\" height=\"183\" src=\"https:\/\/www.youtube.com\/embed\/AzkRSdhqyrk?rel=0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eWhat in the hell is country funk you ask? The answer is a complicated one, in part due to the fact that Country Funk is an inherently defiant genre, escaping all efforts at easy categorization. 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Monk Time\u003c\/em\u003e. Numerous period photographs (many unseen) and an extensive two-part essay by Canadian music journalist Kevin Howes (Jamaica-Toronto series) accompany both releases and tell the Monks story like it has never been told. Bonus material dating back to pre-Monks Torquays and up to post Black Monk Time 45s are also included.\u003c\/p\u003e\n\u003cp\u003e“Their melodies were pop destructive and must be played to your younger brother”\u003cbr\u003e- Jack White, The White Stripes\u003c\/p\u003e\n\u003cp\u003e“The Monks will always be a great band”\u003cbr\u003e- Colin Greenwood, Radiohead\u003c\/p\u003e\n\u003cp\u003e“Monastic Madness – Hard Driving Garage Rock!”\u003cbr\u003e- Krist Novoselic, Nirvana\u003c\/p\u003e\n\u003cp\u003e“This is a damned enjoyable slightly kinky 60’s garage record”\u003cbr\u003e- Iggy Pop\u003c\/p\u003e\n\u003cp\u003eThe Monks were five beat playing American GIs stationed in Germany who, after their discharge, decided to stay and continue their musical mission. Meeting up with a team of local managers, they transformed themselves and their sound into a holy racket like the world had never known. This five-person order literally birthed the above genres through a fuzz-drenched evolution of sound, bursting with social commentary and future primitive rhythms.\u003c\/p\u003e\n\u003cp\u003e[[Catalog Number]]LITA 042[[Artist]]Monks\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"Black Monk Time \/ Vinyl \/ 2LP Black","offer_id":32236499402831,"sku":"LITA042LP","price":22.0,"currency_code":"USD","in_stock":true},{"title":"Black Monk Time \/ CD \/ CD","offer_id":44065408778485,"sku":"LITA042CD","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/monks.jpg?v=1696119789"},{"product_id":"you-could-be-born-again","title":"You Could Be Born Again","description":"\u003cp\u003e[[Release Detail]]\u003cmeta charset=\"utf-8\"\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003eAfter hitting the charts with their 1967 debut \u003cem\u003eKites Are Fun\u003c\/em\u003e, \u003cem\u003eYou Could be Born Again\u003c\/em\u003e is the sound of a band discovering what they are capable of, amid the excitement of what is to come\u003c\/p\u003e\n\u003cp\u003eLight In The Attic presents The Free Design’s brilliant 1968 sophomore album \u003cem\u003eYou Could Be Born Again\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eAfter hitting the charts with their 1967 debut \u003cem\u003eKites Are Fun\u003c\/em\u003e, \u003cem\u003eYou Could be Born Again\u003c\/em\u003e is the sound of a band discovering what they are capable of, amid the excitement of what is to come.\u003c\/p\u003e\n\u003cp\u003eBeautiful and elaborate originals intertwine with classic ‘60s pop hits, arranged in such a way that they could literally claim ownership. 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Featuring lyrics rife with social commentary masked by sugary yet complex harmonies and jazzy progressions, Kites Are Fun is a sunshine-bubblegum-daisy-puppy pop masterpiece that stands the test of time. Fans of the Beach Boys, the 5th Dimension and other seminal pop artists will wonder how they could’ve overlooked this 1967 gem, now admired by the likes of Beck, Madlib, and Belle \u0026amp; Sebastian.\u003c\/p\u003e\n\u003cp\u003eThe Free Design never achieved mainstream fame – an injustice that still puzzles many critics. Born out of the the Greenwich Village scene of 1966, the family act was filling New York City coffee houses with dreamy, deceptively complex harmonies when acclaimed producer Enoch Light signed the siblings – Bruce, Chris, and Sandy Dedrick – to his Project 3 label. One year later, The Free Design debuted with Kites Are Fun. 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Mid-Eighties echoes of Spacemen 3 and the Jesus and Mary Chain also roll through the scoured-guitar sustain and Alex Maas’ rocker-monk incantations. But he knows what time it is. ’You say the Beatles stopped the war,” Maas sings in ‘Never\/Ever.’ ‘They might’ve helped to find a cure\/But it’s still not over.’ Even so, this medicine works wonders.\" – \u003cstrong\u003eDavid Fricke, Rolling Stone\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eWhen last we met The Black Angels, they were staring into the desert sun somewhere outside of Austin, Texas. Two years later, night has fallen and the spirits have come out. It’s time for The Black Angels to provide \u003cem\u003eDirections To See A Ghost\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eIf you’re familiar with \u003cem\u003ePassover\u003c\/em\u003e, the band’s 2006 debut, you’ll know that The Black Angels’ music alone is enough to invoke spirits. There’s a name for the band’s sound: \"hypno-drone 'n' roll.\" It’s the sound of long nights on peyote, dreams of a new world order, and half-invented memories of the seamy side of 60s psychedelia.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eThe Black Angels formed in Austin, Texas, in 2004, comprised of six people (now five) from very different backgrounds. Singer\/vocalist Christian Bland is the son of a Presbyterian Pastor and was raised in a devoutly religious household. Bassist\/guitarist Nate Ryan was born on a cult compound, and drummer Stephanie Bailey claims she’s a descendent of Davy Crocket. She and Alex Maas (vocals\/guitar) both believe a little girl in a red linen dress haunts the group’s home.\u003c\/p\u003e\n\u003cp\u003e“Civil War battlefields are prime spots for seeing ghosts,” says Bland. “One time at Kennesaw mountain in Georgia, I was climbing the mountain in the middle of June and it must have been close to 100 degrees, but in this one particular spot it was very cold. The hairs on my neck stood up and I knew something strange was happening. Then the wind whispered something like ‘retreat,’ and I did. I later learned that the spot where I was on the battlefield was known as ‘the dead angle,’ the place where the fiercest fighting took place. The confederates ended up retreating from the mountain towards Peachtree Creek.”\u003c\/p\u003e\n\u003cp\u003eThe band released \u003cem\u003ePassover\u003c\/em\u003e in 2006 to critical acclaim for both the album and song sharing the same name, \u003cem\u003eThe First Vietnamese War\u003c\/em\u003e. Most of all, \u003cem\u003ePassover\u003c\/em\u003e established The Black Angels as a band with brains, gusto, and a strong message. And this time around, the message is there to read in a 16-page booklet.\u003c\/p\u003e\n\u003cp\u003e“Our central theme is that people need to open up their minds and let everything come through, and to learn from past mistakes,” says Christian. “Only then will we understand the reality of this world and progress beyond where we are now as humans. We’ve built upon that theme with \u003cem\u003eDirections To See A Ghost\u003c\/em\u003e. We want people to study the booklet we are providing with the album in hopes that they will be able to relate each song to something in their life.”\u003c\/p\u003e\n\u003cp\u003e\"War is Peace.\u003c\/p\u003e\n\u003cp\u003eFreedom is Slavery.\u003c\/p\u003e\n\u003cp\u003eIgnorance is Strength.\u003c\/p\u003e\n\u003cp\u003eKeep Music Evil.\"\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eThe Black Angels’ classic sophomore album\u003c\/li\u003e\n\u003cli\u003ePressed at \u003cspan class=\"caps\"\u003eRTI\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"caps\"\u003e\u003cspan\u003eTriple LP housed in a Stoughton tri-fold gatefold jacket\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eSpecial color edition pressed on Metallic Silver Wax\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 033[[Artist]]The Black Angels\u003c\/p\u003e","brand":"Light in 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CD","offer_id":32237408419919,"sku":"LITA033CD","price":11.0,"currency_code":"USD","in_stock":true},{"title":"Directions To See A Ghost \/ Vinyl \/ 3LP Black","offer_id":32237408452687,"sku":"LITA033-1","price":40.0,"currency_code":"USD","in_stock":true},{"title":"Directions To See A Ghost \/ Vinyl \/ 3LP Color","offer_id":43348177027317,"sku":"LITA033-1-1","price":50.0,"currency_code":"USD","in_stock":true},{"title":"Directions To See A Ghost \/ Vinyl \/ 3LP Metallic Silver","offer_id":44399666397429,"sku":"LITA033-1-6","price":33.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/BA_Ghost_HIRES_cover.jpg?v=1704322487"},{"product_id":"sylvie","title":"Sylvie","description":"\u003cp\u003e[[Release Detail]]\u003cmeta charset=\"utf-8\"\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSylvie\u003c\/em\u003e, is haunting and out-of-time—but it is also a brand-new, original debut album, by a singer-writer who has been making music since she was a little girl but just for herself. Like Devendra Banhart says, \u003cem\u003eSylvie\u003c\/em\u003e is “a gem of an album, fragile and fearless, direct and poetic, timeless and absolutely beautiful. Like Rosalie Sorrels meets the Only Ones.” Or Isobel Campbell on a lost desert night, maybe, with only the moon and a ukulele for company.\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"325\" height=\"183\" src=\"https:\/\/www.youtube.com\/embed\/1wKRD1VrPL4?rel=0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"325\" height=\"183\" src=\"https:\/\/www.youtube.com\/embed\/G7zphev_6Wk?list=UUPFJl-I-PhIonNPBGUK0Aog\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e“A lovely voice, a unique voice, the kind of voice that people will get into- that they’ll want to get into.” \u003cbr\u003e- \u003cb\u003eBob Johnston\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e“Fragile and fearless, direct and poetic, such a beautifully constructed and timeless album…Rosalie Sorrels meets the Only Ones!” \u003cbr\u003e- \u003cb\u003eDevendra Banhart\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e“Sweet music just like Sylvie.” \u003cbr\u003e- \u003cb\u003eBrian Wilson\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eAvailable: November 11, 2014\u003c\/p\u003e\n\u003cp\u003eLight In The Attic has an impeccable reputation for uncovering rare and precious albums from the past. Their latest release, \u003cem\u003eSylvie\u003c\/em\u003e, is haunting and out-of-time—but it is also a brand-new, original debut album, by a singer-writer who has been making music since she was a little girl but just for herself. Like Devendra Banhart says, \u003cem\u003eSylvie\u003c\/em\u003e is “a gem of an album, fragile and fearless, direct and poetic, timeless and absolutely beautiful. Like Rosalie Sorrels meets the Only Ones.” Or Isobel Campbell on a lost desert night, maybe, with only the moon and a ukulele for company.\u003c\/p\u003e\n\u003cp\u003eThe raw, delicate, and sensual songs about love and love gone wrong are performed on a ukulele, which here sounds like a broken harp or a heartbroken guitar. “I’d always thought of the uke as a toy, a little handful of happiness,\" says Sylvie, “but not any more. My first ukulele—in fact all my ukuleles—came to me by accident, under strange circumstances usually involving mysterious, vanishing men. From the moment I picked it up, I fell in love. A uke has a sad, fractured sweetness and a modesty. It doesn’t try to impress you, it almost apologizes for being there. The notes are like feathers; you play them and they’re blown away in a second. And yet these songs kept coming through this tiny instrument with all their heartbreak and truth intact.”\u003c\/p\u003e\n\u003cp\u003eThe first person to hear them was Howe Gelb of Giant Sand. “I’d send them one at a time, as I’d written them, and if I left it too long before sending another, he would ask for the next installment. We would talk about recording an album of them one day, and we did.” Meanwhile, she began to make tentative moves back onto the stage, having abandoned it in her teens due to “paralyzing, deer-in-the-headlights stage fright. I guess as you grow up you become a little inured to that particular pain,” Sylvie says. “Or there’s so much other pain it gets put in perspective.” Starting at the deep end, she performed solo at \u003cspan class=\"caps\"\u003eSXSW\u003c\/span\u003e, going on to play a number of shows under the radar with celebrated guest musicians.\u003c\/p\u003e\n\u003cp\u003eLate last year, in a gap between tours, Howe lured Sylvie to the desert where they recorded live to tape in Wavelab Studio in Tucson, with Thoger Lund playing upright bass and Howe, who produced the album, backing her brilliantly on guitar, synthesizers, and piano. “I was staying in Tucson in a motel with no car, running alongside the freeway in the hot morning sun, and then we just went into the cool, dark studio and played. No rehearsals and no going back. It was magic. We planned to record ten of my songs, including a couple I’d just written. We ended up with twelve: one spontaneous cover, and an instrumental with all of us gathered around Howe’s piano, which sounds like the soundtrack to a lost David Lynch film.”\u003c\/p\u003e\n\u003cp\u003eIt’s apt that the album should be made in such a musically evocative setting, because another love affair that informs the record is that of Sylvie and the \u003cspan class=\"caps\"\u003eUSA\u003c\/span\u003e. Born in London, she’d felt the pull of America since childhood and ran away to LA in the late seventies to write about music, convinced she’d never have the nerve to perform it. She became renowned as a rock writer (she’s the subject of a \u003cspan class=\"caps\"\u003eBBC\u003c\/span\u003e documentary, \u003cem\u003eThe Rock Chick\u003c\/em\u003e) and also as an acclaimed author. Her books include the cult fiction \u003cem\u003eToo Weird For Ziggy\u003c\/em\u003e and biographies \u003cem\u003eSerge Gainsbourg: A Fistful of Gitanes\u003c\/em\u003e and \u003cem\u003eI’m Your Man: The Life of Leonard Cohen\u003c\/em\u003e. Following numerous movements across the globe—including three years in a tumbledown French chateau—she now lives in San Francisco.\u003c\/p\u003e\n\u003cp\u003e“The main constant in my life, aside from escape, has been music,” Sylvie says, “writing about it in public and playing it in secret, until now.” On her intimate, mesmerizing debut she lays herself bare. “Clearly from my songs, my skin is thinner than a butterfly’s wing, but these are true songs, and this is how they came out, alone in the dead of night, sad, sweet, and mysterious.”\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eProduced by Howe Gelb and engineered by Chris Schultz (expect for “The Rose You Left Me”-produced by Tim Carter, engineered by Chris Schultz, and “Midnight Cowboy” -produced by Matt Wilkinson, engineered by Mike Patten)\u003c\/li\u003e\n\u003cli\u003eDebut album by esteemed writer and Leonard Cohen biographer Sylvie Simmons\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 122[[Artist]]Sylvie Simmons\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"Sylvie \/ Sylvie Simmons - MP3\/320 \/ album \/ MP3\/320","offer_id":32229695848527,"sku":"81R\/MP3","price":9.99,"currency_code":"USD","in_stock":true},{"title":"Sylvie \/ Sylvie Simmons - FLAC \/ album \/ FLAC","offer_id":32229695881295,"sku":"81R\/FLAC","price":9.99,"currency_code":"USD","in_stock":true},{"title":"Sylvie \/ Sylvie Simmons - WAV \/ album \/ WAV","offer_id":32229695914063,"sku":"81R\/WAV","price":9.99,"currency_code":"USD","in_stock":true},{"title":"Sylvie \/ Sylvie Simmons - WAV-HD \/ album \/ WAV-HD","offer_id":32229695946831,"sku":"81R\/WAVHD","price":9.99,"currency_code":"USD","in_stock":true},{"title":"Sylvie \/ Vinyl \/ LP Black","offer_id":32236501598287,"sku":"LITA122LP","price":15.0,"currency_code":"USD","in_stock":true},{"title":"Sylvie \/ CD \/ CD","offer_id":32237411074127,"sku":"LITA122CD","price":13.0,"currency_code":"USD","in_stock":true},{"title":"Sylvie \/ Vinyl \/ LP Turquoise","offer_id":44065412645109,"sku":"LITA122LP-ONLINE","price":17.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1406584129656-s1lgcijko7n1att9-fc3b6f2f0bcaf468a745532b0d6364cf_2FLITA122_SylvieSimmons_Sylviejpg.jpg?v=1696119834"},{"product_id":"pot-luck","title":"Pot Luck","description":"\u003cp\u003e[[Release Detail]]\u003cmeta charset=\"utf-8\"\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003eLegendary ivory-tickler Spooner Oldham is synonymous with the Muscle Shoals sound. The southern soul pioneer famously backed the likes of Etta James, Jimmy Hughes, Wilson Pickett, Percy Sledge, Aretha Franklin, and many more, but his lone solo album, Pot Luck, finds Spooner in a rare role: front and center.\u003c\/p\u003e\n\u003cp\u003eOldham moved west in the late ‘60s when the patronage of bands like The Stones and The Flying Burrito Brothers made southern soul the in-demand sound. He joined the house band at Hollywood’s Producer’s Workshop and was soon playing for The Lettermen and Liberace. While recording the latter, it was suggested that Oldham make his own album. “I don’t really think I wanted it so much,” Oldham says now. “I think it was shoved on me. We’d got all this stuff set up, and now what do we do?\"\u003c\/p\u003e\n\u003cp\u003ePot Luck is very much a record of two halves; Side A is an amalgamation of rarities penned with the likes of Dan Penn and Freddy Weller, while the B-side is a conceptual, seven-song medley covering some of the biggest hits Oldham played on, including \"Cry Like A Baby,” “Respect,” and gospel standard \"Will The Circle Be Unbroken.” The sessions were largely unplanned. “We just went in,” says collaborator Emory Gordy. “That’s the best way Spooner works.”\u003c\/p\u003e\n\u003cp\u003eIn 1972, the album was released and quickly sank. Before long, the Producer’s Workshop disbanded, too. 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These career-spanning anthologies gather Shin’s work as a guitarist, songwriter, producer and arranger of mind-altering experimental pop, acid-folk, and extended psych-funk jams. 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It's an epic worthy of Morricone's spaghetti Western scores -- had Morricone been born a guitarist. Ultimately, Beautiful Rivers and Mountains is more than a mere curiosity piece; for all its easy-to-recognize styles, Shin's way of enmeshing them into something original underscores rather than erases their strangeness and splendor -- even to widely exposed Western ears -- making this is an excellent introduction to his work.” \u003c\/em\u003e\u003cstrong\u003e- AllMusic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eShin Joong Hyun’s tale is personal, spiritual, and deep, not only reflecting the full spectrum of human emotions but also reverberating with echoes of sound, some beautiful and life-giving, others restless and ungovernable. These career-spanning anthologies gather Shin’s work as a guitarist, songwriter, producer and arranger of mind-altering experimental pop, acid-folk, and extended psych-funk jams. 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Sessions\u003c\/em\u003e from Robbie Hill’s Family Affair.\u003c\/p\u003e\n\u003cp\u003eOriginally recorded at \u003cspan class=\"caps\"\u003eRCA\u003c\/span\u003e Studios in Los Angeles in January 1975 with Executive Producer Cuba Gooding Sr. and The Main Ingredient (the Family Affair were the Ingredient’s backing band at the time), these five tracks remained lost until the recent discovery of the original multi-track masters. The tapes were carefully mixed by renowned engineer and producer Steve Fisk. To say it’s a miracle that these tapes surfaced would be a massive understatement.\u003c\/p\u003e\n\u003cp\u003eRobbie named his band “Family Affair” for a reason – his band is his family and what you hear is proof that the blood really is thicker than the mud. What you’re now holding in your hands is a pinnacle recording from a band that continues on to the present day, surviving in Seattle’s Central District, carrying on a decades’ long tradition.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003ePreviously unreleased on vinyl\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\u003cli\u003eLimited and hand-numbered to 2,000 copies worldwide\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA110LP[[Artist]]Robbie Hill's Family Affair\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"Gotta Get Back: The Unreleased L.A. Sessions \/ Robbie Hill's Family Affair - MP3\/320 \/ album \/ MP3\/320","offer_id":32230150996047,"sku":"74R\/MP3","price":4.99,"currency_code":"USD","in_stock":true},{"title":"Gotta Get Back: The Unreleased L.A. 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A\u0026amp;M shelves the album, and now, 41\u003cbr\u003eyears later, the record is finally available for the first time.\u003cbr\u003eThat’s the story and here’s where it ends up. Over 40 years in the making, \u003cem\u003eA Fire Somewhere\u003c\/em\u003e is an album oozing with swampy Southern charm.\u003cbr\u003eA perfect melding of Memphis soul and San Francisco psych, folk, and\u003cbr\u003erock.\u003c\/p\u003e\n\u003cp\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"325\" height=\"183\" src=\"https:\/\/www.youtube.com\/embed\/F2HcwdL77ys\"\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003ciframe width=\"325\" height=\"183\" src=\"https:\/\/www.youtube.com\/embed\/v0a6qzg2hEQ\"\u003e\u003c\/iframe\u003e\u003cbr\u003eA hippie-fied, soul-rock, folk-rock, psych-rock gem lost in the vaults for four decades, \u003cem\u003eA Fire Somewhere\u003c\/em\u003e by Ray Stinnett (best known as a member of ‘60s outfit Sam The Sham \u0026amp; The Pharaohs) sounds as fresh as the day it was cut, and comes with extensive liner-notes detailing the fascinating life of a little-documented ‘60s rock voyager.\u003c\/p\u003e\n\u003cp\u003eBorn in Memphis in 1944, Ray Stinnett got his first guitar, aged 12, from Nathan Novak’s pawn shop, where Elvis got his first guitar. Heading back down Beale Street afterwards, the family stopped at a light and a huge pink Cadillac pulled up beside them. “And oh my god – it was Elvis!” recalls Ray, “So I held up my guitar and shouted, ‘Hey Elvis!’ and he looks over and says, “Hey cat.” Ray told his father he was going to work hard and make a gold record… just like Elvis.\u003c\/p\u003e\n\u003cp\u003eBefore long, he was putting the plan into action, first in teen group Johnny and the Electros, then as a duo with drummer Jerry Patterson, playing nightly at honkytonks, roadhouses, beer joints, nightclubs and the many Memphis recording studios. He achieved his promise with Sam The Sham \u0026amp; The Pharaohs – \u003cem\u003eWooly Bully\u003c\/em\u003e was the number one selling record of 1965. At 21, Stinnett was living a life of world tours and screaming fans – the whole mania. The wheels fell off a year later, amid managerial disputes. The four Pharaohs (including Ray) parted ways with Sam, wrote two stinging rebukes (“The Hanging” and “You Sure Have Changed”) and released them as The Violations. Ray became more and more of a prolific writer.\u003c\/p\u003e\n\u003cp\u003eBy 1967, the summer of love, Ray left for Haight Ashbury in San Francisco with his wife and young son, taking up residence at the legendary Morning Star Ranch, where Ray focused on finding his true voice. Returning to Memphis a year later, Ray formed a working friendship with Booker T Jones, who produced Ray’s unreleased \u003cem\u003eSun Tree at Pepper West\u003c\/em\u003e album. Eventually, when Jones moved to Malibu and took a contract with A\u0026amp;M, he lined up a deal for his old friend.\u003c\/p\u003e\n\u003cp\u003eStill working in Memphis with (old) friends Jerry Paterson and Mike Plunk on bass, along with Booker T. and co-mixer\/engineer Richard Rosebrough (Chris Bell, Big Star), Ray channelled his experiences in the pop machine, at Morningstar and beyond into the songs that would become \u003cem\u003eA Fire Somewhere\u003c\/em\u003e. It funnelled the vast experiences of this pop star, cosmic traveller and grounded, loving father.\u003c\/p\u003e\n\u003cp\u003eThe songs contained the fried country twang and boogie-woogie grooves of his hometown and of his youth, but were also threaded through with the new psychedelia – shreds of distorted guitar, looping experimental jams and acoustic renditions. “Art is a reflection of life,” says Ray of the making of \u003cem\u003eA Fire Somewhere\u003c\/em\u003e, “and my life was full of reflection at this time.” And it’s perhaps exactly that fact which kept this incredible record unreleased for all these years.\u003c\/p\u003e\n\u003cp\u003eBy summer, the album was ready for release. By winter, it remained on the shelf. A\u0026amp;M reassured Ray that they were going to make him a superstar. Ray had already done that; he just wanted the songs released. Soon, they hit an impasse. Ray took his tapes and songs and went on with his life. In the end, A\u0026amp;M’s loss – is our gain. Listen, and enjoy, this message from another time, and from an old head on young shoulders. “It’s a torch that’s been carried forty years through the desert, waiting for this moment to arrive,” says Ray.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eOriginal album Executive Producer: Booker T. Jones\u003c\/li\u003e\n\u003cli\u003eOriginal art intended for 1971 album release, seen for the first time\u003c\/li\u003e\n\u003cli\u003eAll songs previously unreleased\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 088[[Artist]]Ray Stinnett\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"A Fire Somewhere \/ Ray Stinnett - MP3\/320 \/ album \/ MP3\/320","offer_id":32230152470607,"sku":"62R\/MP3","price":10.99,"currency_code":"USD","in_stock":true},{"title":"A Fire Somewhere \/ Ray Stinnett - FLAC \/ album \/ FLAC","offer_id":32230152503375,"sku":"62R\/FLAC","price":10.99,"currency_code":"USD","in_stock":true},{"title":"A Fire Somewhere \/ Ray Stinnett - WAV \/ album \/ WAV","offer_id":32230152536143,"sku":"62R\/WAV","price":10.99,"currency_code":"USD","in_stock":true},{"title":"A Fire Somewhere \/ CD \/ CD","offer_id":32236500811855,"sku":"LITA088CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"A Fire Somewhere \/ Vinyl \/ 2LP Black","offer_id":44065410482421,"sku":"LITA088LP","price":21.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/LITA088_325_StinnettThumb.jpg?v=1696119810"},{"product_id":"wishbone","title":"Wishbone","description":"\u003cp\u003e[[Release Detail]]\u003cmeta charset=\"utf-8\"\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003eAs one of the first Jamaican-Canadian albums to hit the 70s marketplace, \u003cem\u003eWishbone\u003c\/em\u003e was a pioneering move from a recent immigrant. Criminally undocumented and kept a sweet soul secret by record collectors until now, this is a primetime slice of Jackie Mittoo magic, available to all. Meet Jackie and his reggae beat!\u003c\/p\u003e\n\u003cp\u003eBlack, bold, and beautiful, the joyous reissuing of Jackie Mittoo’s extra-rare Canadian debut \u003cem\u003eWishbone\u003c\/em\u003e is the fourth and perhaps most anticipated release in Light In The Attic’s ongoing \u003cem\u003eJamaica to Toronto\u003c\/em\u003e series.\u003c\/p\u003e\n\u003cp\u003eOver the years many have paid tribute to the dynamic range and skills of the late, great Jackie Mittoo. From the emergence of ska right through to rocksteady and the boss sounds of reggae, he was front and center – a pivotal figure and a sharp move-maker. Even after relocating to Canada, a land not necessarily known for its funk factor, this Studio One veteran worked tirelessly to share his gift and spread the music of Jamaica to a wider audience.\u003c\/p\u003e\n\u003cp\u003eIn 1971, Mittoo gave a deep, warm hello kiss to his adopted nation. In 2006, we are proud to re-release this ambitious sure shot from the original two-track masters. Art direction is once again taken care of by the talented Vincent Cook (2STEP-Tokyo) and contains thoughtful design and immaculate presentation to match the soulful sounds within. Both CD and LP versions of \u003cem\u003eWishbone\u003c\/em\u003e are also accompanied by an extensive essay from \u003cem\u003eJamaica-Toronto\u003c\/em\u003e series producer, DJ, and Canadian music historian Kevin Howes (\u003cspan class=\"caps\"\u003eAKA\u003c\/span\u003e Sipreano), making this release a visual and aural snapshot of an era long forgotten.\u003c\/p\u003e\n\u003cp\u003eThe album’s 12 songs reach far beyond the island rhythms of reggae and into the realms of stone cold soul, funk, gospel and R\u0026amp;B – an indication of the eclectic sounds that ruled the action-packed live music scene of Toronto in the day. Ranging from the entrancing Jamaica-meets-Santana vibe of “Grand Funk” to the undeniable percussive bounce of “Groovy Spirit” while “Soul Bird” sounds like an upbeat Jimmy Smith grinder, as the keyboard king takes us on an orchestral baroque\/mod journey with the organ\/harpsichord fueled “Steeple In The Snow”. Sweeping, ebullient Gospel-tinged Reggae comes courtesy of the vocal-strings-and tings “Love Of Life” and the cool rocksteady beat of the maestro’s “Mother Funk”.\u003c\/p\u003e\n\u003cp\u003eAs one of the first Jamaican-Canadian albums to hit the 70s marketplace, \u003cem\u003eWishbone\u003c\/em\u003e was a pioneering move from a recent immigrant. Criminally undocumented and kept a sweet soul secret by record collectors until now, this is a primetime slice of Mittoo magic, available to all.\u003c\/p\u003e\n\u003cp\u003eMeet Jackie and his reggae beat!\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]][[Catalog Number]]LITA 021[[Artist]]Jackie Mittoo\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"Wishbone \/ Jackie Mittoo - MP3\/320 \/ album \/ MP3\/320","offer_id":32230280495183,"sku":"46R\/MP3","price":9.99,"currency_code":"USD","in_stock":true},{"title":"Wishbone \/ Jackie Mittoo - FLAC \/ album \/ FLAC","offer_id":32230280527951,"sku":"46R\/FLAC","price":9.99,"currency_code":"USD","in_stock":true},{"title":"Wishbone \/ Jackie Mittoo - WAV \/ album \/ WAV","offer_id":32230280560719,"sku":"46R\/WAV","price":9.99,"currency_code":"USD","in_stock":true},{"title":"Satisfaction \/ track \/ MP3\/320","offer_id":32230280593487,"sku":"617T\/MP3","price":1.29,"currency_code":"USD","in_stock":true},{"title":"Satisfaction 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CD","offer_id":32236499075151,"sku":"LITA021CD","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/jackiemittoo_cover.jpg?v=1696119789"},{"product_id":"noel-ellis","title":"Noel Ellis","description":"\u003cp\u003e[[Release Detail]]\u003cmeta charset=\"utf-8\"\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eNoel Ellis\u003c\/em\u003e features six dub-loved, heavy yet ethereal tracks, with contributions from OG reggae maestros Jackie Mittoo, Willi Williams, and Johnny Osbourne. The eponymous classic lost full-length includes the hugely influential \"Rocking Universally, whose rhythmic influence was Willi Williams’ “Armagideon Time” (covered by The Clash) and the poignantly autobiographical “Memories” (about Noel’s upbringing in Jamaica).\u003c\/p\u003e\n\u003cp\u003e★★★★ “Magnificent” – \u003cspan class=\"caps\"\u003eMOJO\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e★★★★1\/2 “Brilliant” – AllMusic\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eNoel Ellis\u003c\/em\u003e features six dub-loved, heavy yet ethereal tracks, with contributions from OG reggae maestros Jackie Mittoo, Willi Williams, and Johnny Osbourne. The eponymous classic lost full-length includes the hugely influential “Rocking Universally”, whose rhythmic influence was Willi Williams’ “Armagideon Time” (covered by The Clash). The poignantly autobiographical “Memories” (about Noel’s upbringing in Jamaica) is a highpoint as well. “Stop Your Fighting” was a universal anti-materialism\/war plea that we should still heed today, while “Marcus Garvey” was delivered in Noel’s playful style, despite a solemn rallying cry of “Africa it must be free…”\u003c\/p\u003e\n\u003cp\u003eNoel Ellis evoked a transcendent majesty, and the album’s economical performances were a blessing compared to certain overproduced recordings of the era. Tasteful keys, varied percussion, essential echo, conquering dub changeovers, and Noel’s impeccable mic control gave an otherworldly twist to Summer’s remarkable drum and bass sound. It was an end-to-end burner for midnight tokers and cool rulers alike.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eIncludes the original version of “Dance With Me” (sampled in Kanye West’s Grammy nominated single “All Day”)\u003c\/li\u003e\n\u003cli\u003eNew edition to celebrate 10 years since our first reissue\u003c\/li\u003e\n\u003cli\u003eRestored original album artwork and expanded to a Stoughton gatefold “tip-on” jacket\u003c\/li\u003e\n\u003cli\u003eIncludes updated liner notes by Kevin “Sipreano” Howes and archive photos\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 020[[Artist]]Noel Ellis\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"Noel Ellis \/ CD \/ CD","offer_id":32237503578191,"sku":"LITA020CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Noel Ellis \/ Vinyl \/ LP Black","offer_id":32237503610959,"sku":"LITA020LP","price":21.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1455144950227-v6ovhwmgny1ra4i-2ac411af49ba83308c12b02036d7affc_2FLITA020_Web.jpg?v=1696119790"},{"product_id":"walk-in-africa-1979-81","title":"Walk In Africa 1979-81","description":"\u003cp\u003e[[Release Detail]]\u003cmeta charset=\"utf-8\"\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/www.youtube.com\/embed\/k5_EXQ40DEk?rel=0\" height=\"180\" width=\"320\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eThe South Africa of the late 1970s was neither the right place nor time to launch a mixed-race punk band. Yet, following the student-inspired Soweto Uprising of 1976, it was also exactly the right conditions to foster a band like National Wake, one formed in an underground commune, and one whose very name exists in protest at the divisive, racist apartheid regime. Never before collected together, Light In The Attic is set to release National Wake’s full body of work as \u003cem\u003eWalk In Africa 1979-81\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eFeatured heavily in the recent documentary \u003cem\u003ePunk In Africa\u003c\/em\u003e , National Wake played punk, reggae and tropical funk, equally at home in the city’s rock underground and the township nightclub circuit. Ivan Kadey started the band with two brothers, Gary and Punka Khoza. The three were from different worlds – while Ivan was an outsider, a Jewish orphan born in the traditional Johannesburg immigrant neighborhood, Gary, Punka and their family were forcibly moved to the troubled township of Soweto under the apartheid regime. Later joined by guitarist Steve Moni, the whole band grew up against a backdrop of township unrest, social upheaval and suburban tedium that characterized apartheid-era South Africa.\u003c\/p\u003e\n\u003cp\u003eNational Wake released just one album, in 1981. It sold approximately 700 copies before being withdrawn under government pressure. The band subsequently disintegrated, but their influence could be traced in the racially mixed post-punk underground centered around Rockey Street in Johannesburg throughout the 1980s, their legacy transmitted through fanzines and underground cassette trading.\u003c\/p\u003e\n\u003cp\u003eSadly, Gary and Punka Khoza both passed away in their 40s. Kadey now works as an architect in Los Angeles, but his attention eventually turned back to the band as their legacy grew in the digital era, with the emergence of specialized music websites and \u003cem\u003ePunk In Africa\u003c\/em\u003e leading to their rediscovery. Czech State Radio memorably described the band as “perhaps the most dissident music scene of the 20th century: a multi-racial punk band in a fascist police state.”\u003c\/p\u003e\n\u003cp\u003eIn 2011, Kadey re-released the band’s self-titled album on CD in South Africa, but spoke about having more than 20 tracks that had never seen the light of day – until now. “All of these recordings put together they speak of the whole evolution of the band,” he has said. “From a sort of naive, almost belief that we could miraculously change everything to realizing what a struggle it was, and what the country was going through and what it would go through.”\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/www.youtube.com\/embed\/SFXVt95_o-Y?rel=0\" height=\"250\" width=\"325\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eFirst ever anthology\u003c\/li\u003e\n\u003cli\u003eRemastered from original 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For guitar geeks, it’s one of the first instructional methods to deal with open tunings like \u003cspan class=\"caps\"\u003eDADGAD\u003c\/span\u003e. For Chapman fans, it’s merely a gas to listen to!\u003c\/p\u003e\n\u003cp\u003eAlong with Bert Jansch, Roy Harper, and John Martyn – Michael Chapman is one of the most influential and important British singer\/songwriter\/folk guitarists of his generation.\u003c\/p\u003e\n\u003cp\u003eLike his peers, Chapman blended traditional folk influences with rock and jazz overtones for a unique sound that remains fresh to this day. Michael Chapman is also legendary for discovering electric guitar maverick Mick Ronson and recording with him before David Bowie did! Chapman also utilized string arranger Paul Buckmaster (whose name appears on early 70’s LPs by Elton John, the Rolling Stones and Miles Davis).\u003c\/p\u003e\n\u003cp\u003eFollowing on the heels of LITA’s previous Chapman reissues comes an ultra-rarity, 1978’s \u003cem\u003ePlaying Guitar The Easy Way\u003c\/em\u003e – an instructional record (complete with a 20 page booklet of notation) making its CD debut and reissued on vinyl for the first time ever! For guitar geeks, it’s one of the first instructional methods to deal with open tunings like \u003cspan class=\"caps\"\u003eDADGAD\u003c\/span\u003e. For Chapman fans, it’s merely a gas to listen to!\u003c\/p\u003e\n\u003cp\u003eReleased with the direct involvement of Michael – who supplied the original master tape as well as some new liner notes – he still stands by this record as he told Thurston Moore during a recent interview for the Fretboard Journal:\u003c\/p\u003e\n\u003cp\u003e“I still think it was a good idea. [But] it wasn’t meant to be for people starting the guitar; it was for people who had maybe got bogged down a bit and then maybe wanted to write some songs, and here comes an interesting way to find some new chords, which is what I did, you know, I just went.”\u003c\/p\u003e\n\u003cp\u003eNow just about everyone can try \u003cem\u003ePlaying Guitar The Easy Way\u003c\/em\u003e!\u003c\/p\u003e\n\u003cp\u003e[[Catalog Number]]LITA 114[[Artist]]Michael Chapman\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"Playing Guitar the Easy Way \/ Michael Chapman - MP3\/320 \/ album \/ MP3\/320","offer_id":32230286590031,"sku":"75R\/MP3","price":9.99,"currency_code":"USD","in_stock":true},{"title":"Playing Guitar the Easy Way \/ Michael Chapman - FLAC \/ album \/ FLAC","offer_id":32230286622799,"sku":"75R\/FLAC","price":9.99,"currency_code":"USD","in_stock":true},{"title":"Playing Guitar the Easy Way \/ Michael Chapman - WAV \/ album \/ 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